Bill Harris | Solo Plus One

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United States - Washington DC

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Jazz: Piano Jazz Jazz: Mainstream Jazz Moods: Featuring Piano
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Solo Plus One

by Bill Harris

Solo and duo (bass) jazz piano , classic standards and mainstream jazz.
Genre: Jazz: Piano Jazz
Release Date: 

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  Song Share Time Download
1. Pensativa (feat. Tom Baldwin)
5:34 $0.99
2. I Got It Bad and That Ain't Good
3:17 $0.99
3. Teach Me Tonight
3:32 $0.99
4. Body and Soul
3:45 $0.99
5. Remember (feat. Tom Baldwin)
5:49 $0.99
6. You Don't Know What Love Is
5:15 $0.99
7. My Foolish Heart
4:07 $0.99
8. Do Nothin Til You Hear from Me
3:33 $0.99
9. Estate (feat. Tom Baldwin)
4:53 $0.99
10. Ruby My Dear
4:16 $0.99
11. Moonlight in Vermont
3:52 $0.99
12. Turn Out the Stars (feat. Tom Baldwin)
5:45 $0.99
13. Prelude to a Kiss
4:11 $0.99
14. These Foolish Things
3:48 $0.99
Downloads are available as MP3-320 files.


Album Notes
Bill Harris clearly loves music with all his heart and above all, he loves to play the piano. These are among the things that set him apart from the crowd. Monster chops (musician’s jargon for great technique), swingability and expert harmonic sense are all as common as can be these days. But Bill understands the piano and music on a much deeper level. And this shows particularly in his solo work.

Solo playing presents a special kind of challenge, and not all good pianists do it well. On this CD, Bill sets out to prove his solo mettle in the most honest way. He chooses familiar standards like Body And Soul and You Don’t Know What Love Is that have been played by every pianist, great and obscure, for over half a century. Begging comparison with the likes of Art Tatum and Tommy Flanagan takes guts. But it suffices to say Bill’s performances are exhilarating in their own way. Passing up the eternal tone clusters and zillion note approach that sometimes passes for solo piano playing today, he takes us instead directly into the heart of the music. Yes, his runs are perfect (damn it), he has great time and he plays marvelous chords. But most important he is always, always musical. I would say that one scarcely misses the bass player in these performances, but that wouldn’t be at all fair to Tom Baldwin who gives Bill such masterly support on four of these tracks. It isn’t fair to Bill either to suggest that he doesn’t play wonderfully with other musicians. His group skills have been and continue to be abundantly proven on recordings and countless live perfor­mances in Washington and elsewhere.

I am proud to call Bill Harris a friend and colleague. I’m proud to be able to finally say in public what I have often said in private. Bill Harris is a master.

John Eaton



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